Climbing by Josh Achiron

Guitarist and composer Joshua Achiron makes his recording debut with Climbing, a compelling collection of original music that captures a transformative moment in his artistic development. Joined by three of Chicago's most respected jazz musicians—saxophonist Geof Bradfield, bassist Clark Sommers, and drummer Dana Hall—Achiron documents what he describes as "a true snapshot of where I am today, playing with people that I perceive as perfect while I strive for progress."
The album's genesis traces back to a single transformative evening in July 2023 when Achiron performed with Bradfield's group at the Showcase. "That was the most important night of music that I have played," reflects Achiron. "It was one of those nights that come once in a blue moon to remind you of why you started playing at all. This project was an effort to recreate that." What emerged is far more than recreation—Climbing stands as a fully realized artistic statement, a collection of seven original compositions plus Duke Ellington's "Take the Coltrane" that translate personal mantras and hard-won wisdom into sonic landscapes of hope and resilience.
"These were written from the perspective of going through things and coming out on the other side better," explains Achiron. "These are to uplift and remind yourself that we're always shooting for progress, not perfection." The album titles themselves read like affirmations: "Troubles Become Triumphs," "The Only Way Is Through," "The Pain That Alters," "The Pain That Hurts." Rather than simply attaching inspirational phrases to compositions, Achiron used these sayings as genuine compositional catalysts. "I used the sayings to write the music. I just tried to imagine what that would sound like if someone said it in a movie or in a speech. How would the time be decorated when those words were said."
For Achiron, the personnel was as crucial as the material. "The members of the band are true masters. They have guided me with each note. Every time you play with masters you get to learn about yourself, and I wanted to record my learning curve." The quartet's chemistry is immediately apparent throughout Climbing, recorded by Ken Christianson at Chicago's Pro Musica studio. Bradfield's authoritative yet empathetic tenor saxophone provides the perfect counterpoint to Achiron's fluid, adventurous guitar work, while Sommers and Hall create a foundation that is simultaneously rock-solid and dynamically responsive.
The album opens with "Troubles Become Triumphs," packing considerable musical territory into just three and a half minutes. The tune begins with a funky odd-meter groove before segueing into a more open texture for Achiron's fluid, singing solo, then shifts to a contrasting swinging melody that sets up Bradfield's tenor statement before the ensemble nails a tight ending. This kind of compositional sophistication and structural variety characterizes much of Climbing, revealing a young composer already in command of his craft.
"The Papaya King," written for Achiron's best friend and frequent collaborator bassist Stephen Parisi, opens with guitar and tenor establishing a slow, brooding ostinato. "Stephen helped me so much in my musical journey," says Achiron. "Our favorite thing to do is go out to eat and hang, and Papaya King is his favorite spot." Here Achiron skillfully explores an adventurous, effects-driven sonic palette, building intensity with Bradfield until they arrive at free improvisation before returning to the theme with guitar and saxophone roles switched. The piece exemplifies Achiron's thoughtful approach to utilizing the full range of colors and textures available on the electric guitar.
The album's most intimate moment arrives with "The Only Way Is Through," a singing ballad that captures the lovely blend of tenor and guitar on the melody while showcasing Bradfield's lyrical power. Achiron is direct and heartfelt, ably guiding the tune to its emotional peak. The title track "Climbing" opens with Sommers' deep, propulsive bass and Hall keeping things moving lightly forward on cymbals, establishing an optimistic vibe. Sommers takes the first solo, navigating subtle harmonic shifts with a finely honed sense of melody and structure, before Achiron weaves a virtuosic guitar solo that never strays far from the melody.
"Mean Machine," dedicated to Achiron's drummer father and his love of the film The Longest Yard, features syncopated rhythmic counterpoint in its tricky melody statement. "My dad is a drummer, so I wrote this with the great Dana Hall in mind," notes Achiron. Hall and Bradfield indeed do some serious stretching over the vamp while Achiron demonstrates masterful command of his instrument throughout.
The paired compositions "The Pain That Hurts" and "The Pain That Alters" explore contrasting emotional territory. The former, a lyrical mixed-meter piece with indie-rock sensibilities, attests to Achiron's skill in crafting tunes that feel melodically and harmonically inevitable, with Bradfield delivering a darting, soulful solo. The latter offers resolution and hope, with Bradfield and Achiron reflecting that arc in playful, lively solos before returning to the theme in lush unison.
The album closes with Duke Ellington's "Take the Coltrane," the only standard on the record, perfectly capturing the energy of the quartet stretching out and swinging the blues. It's a fitting conclusion to a debut that announces Joshua Achiron as a significant new voice in creative music, one who understands that the journey is as important as any destination.

joshachiron.com